2020s
The Royal Hotel is at times a tense and engaging thriller with poignant performances, but sometimes its message feels muddled.
Helgeland writes and directs Finestkind with all the right intentions, but it ultimately feels shallow.
What better way to infuse a rom-com than with the unconditional and irresistible love of dogs? That’s what Puppy Love seeks to do.
There’s a lot of hard work under the hood of Gran Turismo that narrowly crosses the finish line of a compelling racing film.
In a packed year for the movies, the film scores of 2022 are equally plentiful. Here are the best film scores of the year, ranked.
If you like horror or mystery or just like to be kept guessing, then this is a movie that you’re going to need to see.
At this year’s Melbourne International Film Festival, Sean Fallon reviews Hello Dankness, Biosphere and Art Talent Show!
While Haunting of the Queen Mary may struggle to find its sea legs, it culminates into an epic voyage of terror and twists.
Before, Now & Then is a film that dares to ask this question and forces us to wrestle with the painful truth at the core of the answer.
With an emotional family-focused core and some unique visual flourishes, Blue Beetle is surpisingly memorable.
King Coal is a rare work of art that manages to look forward precisely by looking backward.
Strays is a mess of limited ideas, mined from the inebriated story idea, “What if a typical dog movie had more profanity and poop?”.
Unspooled like a true crime tale, Satan Wants You writes an origin story for this salacious, sensationalist phenomenon.
I Like Movies manages to strum all the right cords in a truly unique celebration of cinema itself.